Willamette Week’s Musicfest NW announces this year’s festival line-up which will be held at various venues around the Portland, OR metropolitan area on September 16, 17, 18 & 19. Do note all shows are first come first-served. Please visit http://musicfestnw.com/tix for details on performers and where to purchase passes.

MFNW continues its tradition of supporting diverse genres that will appeal to every music fan. It’s also a great opportunity to visit one of the best cities in America.

On the heels of the most successful MFNW to date, MFNW 2009 launches with nothing but the hope of a bigger and better festival. MFNW’s ultimate aim is to provide Portland with a unique and special musical experience that features all types of acts including nationally renowned artists while still honoring and supporting the special musical scene of the Northwest.

Seattle’s KEXP radio will broadcast live from Portland at The Doug Fir Lounge September 17-18 during MFNW, with live performances from artists playing the festival. Listener-powered and community supported, KEXP not only serves Seattle but also has a large loyal listener base in Portland and around the world who tune into WWW.KEXP.ORG through online streaming.

Last year, MFNW 2008 national talent roster boasted acts such TV on The Radio, Vampire Weekend, Deerhunter, Dan Deacon, M Ward, Mogwai, The Fuck Buttons and so many more. MFNW also saw a double in attendance last year and brought in more community partnerships than ever before. The last eight years of the annual September festival have unquestionably met that goal, as MFNW has become synonymous with the region’s best music, while experiencing 25-30% growth in attendance.

How MFNW came to be one of Portland’s biggest music festivals began with the departure of the North By Northwest music festival (NXNW), in 2000. Willamette Week, Portland’s alternative weekly and longtime co-producer of NXNW, teamed up with members of the local and regional music scene to create a new music festival in 2001: MFNW.

Confirmed to play are national & regional acts (more acts to follow in the coming months):

Sunny Day Real Estate

Explosions In Sky

Bad Brains

Girl Talk

The Get Up Kids

Will Sheff (of Okkervil River)

Dirty Three

Monotonix

Mudhoney

Frightened Rabbit

Twilight Sad

Dillinger Four

Swollen Members

Grand Duchy

Beach House

John Vanderslice

The Long Winters

The Pains of Being Pure At Heart

Pink Mountaintops

OM

Portugal The Man

Viva Voce

The Builders and The Butchers

Langhorne Slim

Bobby Bare Jr.

Chairlift

Loch Lomond

Team Dresch

Erase Errata

J.D. Twitch (Optimo)

Eluvium

Youth Group

Titus Andronicus

The Zeros

Mount Eerie

Trash Talk

Despise You

Crom

Japanther

Mayer Hawthorne & The County

Grouper

Richard Swift

Austin Lucas

Amazing Baby

Brother Reade

Love Language

Anders Parker

The Morning Benders

The Miniature Tigers

Common Market

Jacob Fred Jazz Odyssey

We Were Promised Jetpacks

Say Hi

Rocky Votolato

Cymbals Eats Guitars

Copy

Red Fang

Saviours

Norfolk & Western

Nurses

Explode Into Colors

Portland Cello Project

Guidance Counselor

Fences

And much much more….

“Following the aesthetic of Negativland and John Oswald, Realistic borrows material from every possible source: classic rock, disco, self-improvement records, soap operas [and more]. Towning demonstrates a knack for unconventional looping, sonic accumulation, and a good joke.” – All Music Guide

Realistic’s third album, Perpetual Memory Loss, features sixteen tracks of intricate sample-based compositions – a beautifully sophisticated celebration of found sound, recorded media, technology, and electronic composition. Slices of field recordings mesh with surreal electronic melodies, which creates enjoyably odd multi-layered musical fun. Realistic is the guise of sound collage artist James Towning, by day a Brooklyn-based motion-graphics designer.

With this release, the Illegal Art label continues to challenge the restrictions of copyright as perceived by the larger music industry. The uniqueness of Realistic in comparison to other artists on the label (Girl Talk, Oh Astro, Steinski) further illustrates that sample-based music is strikingly some of the most original, innovative, and exciting music being made in the 21st century. Illegal Art claims Fair Use for all of its releases and has professional legal counsel nearby if needed.

Towning has been a fan of electronic music since his college days, mostly the UK scene. Artists like Human League, Soft Cell, Cabaret Voltaire, Wire, Art of Noise, and Meat Beat Manifesto were early influences, while Mu-ziq and Kid Koala can be counted as contemporary ones. In a recent interview Towning says, “I also go off on binges of Queen, ELO, XTC, The Beatles, and Bowie.”

A recurring source in Towning’s compositions is the nostalgic sounds of 70’s and 80’s techno-pop and rock artists that were personally influential over the years. As well as using computer-based waveform editing and sampling, Towning carries a portable digital recorder to capture various audio environments on a daily basis. Whether the source samples are found around the house, on TV, on a busy Chinatown street, or a crackly sound effects record, Realistic’s juxtaposition of head-spaces always creates something surreal and altogether new.

“There’s such a rich texture of sound and visuals in New York. I’m constantly entertained with the sounds that I record,” said Towning in a recent interview. An ever-increasing collection of thrift-store records and cassettes is another likely source of audio inspiration. “I love composing little sound pieces using whatever source material I choose. It’s a cathartic, fun, and essential part of my life.”

With Perpetual Memory Loss, the Realistic sound has evolved into a tighter and more structured mesh of musical patterns and mangled beats. Tiny rhythmic patterns and subtle textural layers are revealed upon repeated listening. Sampled dialogue is used more sparingly than in previous Realistic releases allowing the musical voices to be heard more clearly. Each complex track is its own self-contained little world, with disjointed characters, funky grooves, and odd but familiar musical samples. Throughout the 45-minute album, expressionistic patterns of sound twist and fold into one another as the tracks evolve. At times the entire audio spectrum degrades and distorts in groovy syncopation. The tracks on Perpetual Memory Loss are more complex and refined, but what remains is the underlying sense of humor, rich production, and an offbeat composition style that is distinctively Realistic.

Regarding the album’s unique artwork, Towning explains, “The CD art was designed by me. It consists of many thumbnails of snapshots I’ve taken over the past three years or so. That timeframe coincides with the production of the audio tracks, too. The snapshots represent memories in a very literal way. They vary in subject matter from pictures of my cats, still-lifes, industrial landscapes, detailed textures, and random found art. The inside artwork reveals more snapshot thumbnails in varying degrees of clarity.”

Towning further elaborates, “Beneath the CD, a collage of found images and photographs explodes and bleeds over into the snapshots. The technique of collaging with found and personal imagery reflects the style of the audio tracks too. The primary colors of red and green that I chose were inspired by and derived from a vintage Christmas card I received from a friend a few years ago. Again, a nostalgic reference.”

As for the title Perpetual Memory Loss, Towning says it “speaks to the process of growing older and the mind’s ability to store, lose, and constantly distort memories. And how sometimes those memories are recalled in a random and overlapping order. As we get older, more and more memories are stored while others are buried deep or lost. The title also references the similarities between the ever expanding human mind and a computer’s finite hard drive and its ability to retrieve random and corrupt data.”

Videos From Previous Realistic Releases:

“Private Moments”: http://www.youtube.com/watch?v=sJAaDZZawLo

“Music for Voyeurs”: http://www.youtube.com/watch?v=lzIUnevtrFc

“Angel 2001”: http://www.youtube.com/watch?v=EQ0eKMJKnm0

“Spectacle of Slop”: http://www.youtube.com/watch?v=-bTYS2HQqqI

Perpetual Memory Loss Tracklisting:

Release Date: October 23, 2007

01. The Camera Track (MP3)
02. Music in the Round
03. Conversation Hearts
04. Post-Corporate Fantasy
05. Amazing Fall
06. Welcome to Heaven
07. Brand Name Sunday
08. Library Music
09. Wandering Aimlessly
10. Have a Nice Trip
11. April and August Sixth
12. There is Always More
13. In Loving Memory
14. Snowday Plaything (MP3)
15. The Numbers Test
16. Uneventful Fall

Although you’re more likely to see Gillis strip down to his skivvies at a Girl Talk show, half a million people saw Gillis exposed in June’s “Man of The Year” issue of Playgirl Magazine. When discussing what he likes to do in his free time, Gillis says, “I enjoy swimming, playing basketball, lighting off fireworks, snacking it out, and bro’n down.” About the issue, Gillis says, “I didn’t know it was out, and a friend actually spotted it in a women’s restroom at this pretty dive-y bar in Pittsburgh. She didn’t know I was in it, she was just browsing. Pretty funny situation.”

What some might find even funnier is the fact that Gillis ate hot dogs with Newsweek journalist Steven Levy and Congressman Mike Doyle shortly after the Playgirl piece hit stands. Levy and Congressman Doyle flew to Pittsburgh to meet Gillis at local hot dog joint Franktuary to discuss Doyle’s recent statements supporting Girl Talk ’s sample based music on the floor of Congress. Read all about it (LINK).

Gillis recently was granted the freedom to do the above mentioned things, as he recently resigned from his job as a biomedical engineer that up until now has also kept him from taking on more remix projects and touring on a regular basis.

“I couldn’t keep up with both worlds,” Gillis says. “It was just too much. I keep getting sick because I’m in a constant state of running somewhere else. Music has always been my main interest, but I never really thought of it as a possible career. I think I’m extremely lucky to be in the position I am in now, where I can dedicate at least a year of my life to music and stay afloat.”

According to Gillis’ booking agent Sam Hunt at The Windish Agency, “It shouldn’t have too great of an impact on his live schedule. There’s something awesome about only playing on the weekends, and we’d like to do our best to keep that going,” Hunt says. “However, there have been a number of uniquely awesome opportunities that have been impossible because they took place during the week. Also, there’s a chance he’ll be able to do a more thorough/actual tour involving multiple consecutive shows!”

Gillis’s resignation also granted him the opportunity to go on tour with Dan Deacon, more flexibility to perform at special events during the week and also more time to work on Trey Told ‘Em, a band he started with friend and collaborator Frank Musarra (Hearts of Darknesses). The duo has already completed one remix for Tokyo Police Club, and has many more in the works including tracks for Simian Mobile Disco and Professor Murder.

Girl Talk was one of the highlights of this year’s Coachella festival (VIDEO), with Paris Hilton (mere weeks before her incarceration!) and Perry Farrell dancing alongside him and throwing confetti. As usual, Gillis had a crew of dancers join him on stage, with gigantic bright yellow balloons tied to their wrists. Girl Talk was also a hit at this month’s Bonnaroo Festival and the Primavera Sound Festival in Barcelona.

Who ever thought you would see the day when the words Playgirl, Newsweek and Paris Hilton could all be used in one of our press releases? In true Girl Talk fashion, he never ceases to amaze.

In addition to the tour with Dan Deacon, Gillis is excited to be playing several more summer festivals, including Pitchfork and the Winnipeg and Montreal Jazz Festivals. He will also put his fan base to the test this July by playing Red Rocks in Colorado with Violent Femmes and Blues Traveler, soon to be followed by a show with Widespread Panic in Boston. This just further illustrates Girl Talk ’s notorious “down for whatever” attitude about music.

Girl Talk Live:

* w/ Dan Deacon

07/04 Morrison, CO Red Rock Pavillion
07/14 Chicago, IL Pitchfork Music Festival
07/18 Boston, MA Bank Of America Pavilion
07/27 Seattle, WA Capitol Hill Block Party
07/28 Louisville, KY Forecastle Festival
08/04 Baltimore, MD Pimlico Race Park
08/09 Indianapolis, IN Talbott Street
08/10 Baton Rouge, LA Spanish Moon
08/24 Tulsa, OK Cains Ballroom
09/08 Portland, OR Roseland Theater
09/12 Toronto, ON Phoenix*
09/15 New York, NY Webster Hall*
09/17 Philadelphia, PA First Unitarian Church*
09/20 Charlottesville, VA Satellite Ballroom*
09/21 Asheville, NC Orange Peel*
09/22 Atlanta, GA MJQ Concourse*
09/27 San Diego, CA Epicentre*
09/28 Los Angeles, CA Echoplex*
09/29 San Francisco, CA The Fillmore*
10/04 Lawrence, KS The Granada Theatre
10/05 Minneapolis, MN First Avenue
10/06 Iowa City, IA The Picador
10/11 Calgary, AB The Warehouse
10/12 Edmonton, AB The Starlite Room
11/01 Houston, TX Engine Room
11/02 Dallas, TX Palladium Loft

Girl Talk

The transcripts from an interview conducted with DJ and Pittsburgh native, Gregg Gillis aka Girl Talk. Although he explains that he is not in fact a DJ, Girl Talk knows how to get that booty to shake right thurr, plus, he also makes you think. After six years of making music, with three albums to show for it, Gregg Gillis has taken control of the Pittsburgh music scene with his dirty, bouncy, and seductively truthful/possibly illegal sampling and sound presentation. Ooh baby, I like it raw and by raw, I mean Girl Talk.